The next step is to ensure that the image is properly exposure adjusted, meaning…that if we look at the histogram here, that we have a full range histogram;…that we are not losing detail in the blacks, or in the whites, and again, that…we have full data range, at least where it is appropriate.…So, if should have highlights, we want to make sure that our histogram is reaching…into the highlights, and the same thing with the shadows.…For this particular shot, it's, first of all, clearly underexposed. It's quite a bit…dark, and if you look at the histogram you will see that the shadows are being…crunched up over here, and we will take a look in just a moment exactly what…part of the image is this.…

We can also see by looking at the right side of the histogram, while there are…clearly no blown out details, there is nothing in the top, say, third or…quarter of the histogram here.…This mean there is absolutely no data.…Now, if this was a bright sunny day, that would be a real problem; this would to…

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Released

4/15/2013

Watch artist Joseph Linaschke explain the creation of his gallery hanging of large black-and-white prints on metal and discuss the many challenges he faced along the way. He backward-engineers his process in Aperture for us, showing how he reviews his images, crops and straightens them in preparation for conversion, scales them without introducing any loss in quality, and then makes the final adjustment to black and white. Finally, learn about the file output and setup that went into the final set of prints.